Poe, Edgar Allen - The Complete Works of Edgar Allen Poe
Page 143
arranged as to be easily slipped, _en masse, _from its position when
occasion should require it. This occasion we have already stated to
occur when the man concealed within brings his body into an erect
position upon the closing of the back door.
10. Sir David Brewster states the figure of the Turk to be of the
size of life--but in fact it is far above the ordinary size. Nothing
is more easy than to err in our notions of magnitude. The body of the
Automaton is generally insulated, and, having no means of immediately
comparing it with any human form, we suffer ourselves to consider it
as of ordinary dimensions. This mistake may, however, be corrected by
observing the Chess-Player when, as is sometimes the case, the
exhibiter approaches it. Mr. Maelzel, to be sure, is not very tall,
but upon drawing near the machine, his head will be found at least
eighteen inches below the head of the Turk, although the latter, it
will be remembered, is in a sitting position.
11. The box behind which the Automaton is placed, is precisely three
feet six inches long, two feet four inches deep, and two feet six
inches high. These dimensions are fully sufficient for the
accommodation of a man very much above the common size--and the main
compartment alone is capable of holding any ordinary man in the
position we have mentioned as assumed by the person concealed. As
these are facts, which any one who doubts them may prove by actual
calculation, we deem it unnecessary to dwell upon them. We will only
suggest that, although the top of the box is apparently a board of
about three inches in thickness, the spectator may satisfy himself by
stooping and looking up at it when the main compartment is open, that
it is in reality very thin. The height of the drawer also will be
misconceived by those who examine it in a cursory manner. There is a
space of about three inches between the top of the drawer as seen
from the exterior, and the bottom of the cupboard--a space which must
be included in the height of the drawer. These contrivances to make
the room within the box appear less than it actually is, are
referrible to a design on the part of the inventor, to impress the
company again with a false idea, viz. that no human being can be
accommodated within the box.
12. The interior of the main compartment is lined throughout with
_cloth. _This cloth we suppose to have a twofold object. A portion of
_it _may form, when tightly stretched, the only partitions which
there is anv necessity for removing during the changes of the man's
position, viz: the partition between the rear of the main compartment
and the rear of the cupboard No. 1, and the partition between the
main compartment, and the space behind the drawer when open. If we
imagine this to be the case, the difficulty of shifting the
partitions vanishes at once, if indeed any such difficulty could be
supposed under any circumstances to exist. The second object of the
cloth is to deaden and render indistinct all sounds occasioned by the
movements of the person within.
13. The antagonist (as we have before observed) is not suffered to
play at the board of the Automaton, but is seated at some distance
from the machine. The reason which, most probably, would be assigned
for this circumstance, if the question were demanded, is, that were
the antagonist otherwise situated, his person would intervene between
the machine and the spectators, and preclude the latter from a
distinct view. But this difficulty might be easily obviated, either
by elevating the seats of the company, or by turning the end of the
box towards them during the game. The true cause of the restriction
is, perhaps, very different. Were the antagonist seated in contact
with the box, the secret would be liable to discovery, by his
detecting, with the aid of a quick car, the breathings of the man
concealed.
14. Although M. Maelzel, in disclosing the interior of the machine,
sometimes slightly deviates from the _routine _which we have pointed
out, yet _reeler in _any instance does he _so _deviate from it as to
interfere with our solution. For example, he has been known to open,
first of all, the drawer--but he never opens the main compartment
without first closing the back door of cupboard No. 1--he never opens
the main compartment without first pulling out the drawer--he never
shuts the drawer without first shutting the main compartment--he
never opens the back door of cupboard No. 1 while the main
compartment is open--and the game of chess is never commenced until
the whole machine is closed. Now if it were observed that _never, in
any single instance, _did M. Maelzel differ from the routine we have
pointed out as necessary to our solution, it would be one of the
strongest possible arguments in corroboration of it--but the argument
becomes infinitely strengthened if we duly consider the circumstance
that he _does occasionally _deviate from the routine but never does
_so _deviate as to falsify the solution.
15. There are six candles on the board of the Automaton during
exhibition. The question naturally arises--"Why are so many employed,
when a single candle, or, at farthest, two, would have been amply
sufficient to afford the spectators a clear view of the board, in a
room otherwise so well lit up as the exhibition room always is--when,
moreover, if we suppose the machine a _pure machine, _there can be no
necessity for so much light, or indeed any light at all, to enable
_it _to perform its operations--and when, especially, only a single
candle is placed upon the table of the antagonist?" The first and
most obvious inference is, that so strong a light is requisite to
enable the man within to see through the transparent material
(probably fine gauze) of which the breast of the Turk is composed.
But when we consider the arrangement of the candles, another reason
immediately presents itself. There are six lights (as we have said
before) in all. Three of these are on each side of the figure. Those
most remote from the spectators are the longest--those in the middle
are about two inches shorter--and those nearest the company about two
inches shorter still--and the candles on one side differ in height
from the candles respectively opposite on the other, by a ratio
different from two inches--that is to say, the longest candle on one
side is about three inches shorter than the longest candle on the
other, and so on. Thus it will be seen that no two of the candles are
of the same height, and thus also the difficulty of ascertaining the
_material _of the breast of the figure (against which the light is
especially directed) is greatly augmented by the dazzling effect of
the complicated crossings of the rays--crossings which are brought
about by placing the centres of radiation all upon different levels.
16. While the Chess-Player was in possession of Baron Kempelen, it
was more than once observed, first, that an Italian in the suite of
the Baron was never visible durin
g the playing of a game at chess by
the Turk, and, secondly, that the Italian being taken seriously ill,
the exhibition was suspended until his recovery. This Italian
professed a _total _ignorance of the game of chess, although all
others of the suite played well. Similar observations have been made
since the Automaton has been purchased by Maelzel. There is a man,
_Schlumber0er, _who attends him wherever he goes, but who has no
ostensible occupation other than that of assisting in the packing and
unpacking of the automata. This man is about the medium size, and has
a remarkable stoop in the shoulders. Whether he professes to play
chess or not, we are not informed. It is quite certain, however, that
he is never to be seen during the exhibition of the Chess-Player,
although frequently visible just before and just after the
exhibition. Moreover, some years ago Maelzel visited Richmond with
his automata, and exhibited them, we believe, in the house now
occupied by M. Bossieux as a Dancing Academy. _Schlumberg_er was
suddenly taken ill, and during his illness there was no exhibition of
the Chess-Player. These facts are well known to many of our citizens.
The reason assigned for the suspension of the Chess-Player's
performances, was _not _the illness of _Schlumberger. _The inferences
from all this we leave, without farther comment, to the reader.
17. The Turk plays with his _left _arm. A circumstance so remarkable
cannot be whatever. beyond a accidental. Brewster takes no notice of
it whatever beyond a mere statement, we believe, that such is the
fact. The early writers of treatises on the Automaton, seem not to
have observed the matter at all, and have no reference to it. The
author of the pamphlet alluded to by Brewster, mentions it, but
acknowledges his inability to account for it. Yet it is obviously
from such prominent discrepancies or incongruities as this that
deductions are to be made (if made at all) which shall lead us to the
truth.
The circumstance of the Automaton's playing with his left hand cannot
have connexion with the operations of the machine, considered merely
as such. Any mechanical arrangement which would cause the figure to
move, in any given manner, the left arm--could, if reversed, cause it
to move, in the same manner, the right. But these principles cannot
be extended to the human organization, wherein there is a marked and
radical difference in the construction, and, at all events, in the
powers, of the right and left arms. Reflecting upon this latter fact,
we naturally refer the incongruity noticeable in the Chess-Player to
this peculiarity in the human organization. If so, we must imagine
some _reversion--_for the Chess-Player plays precisely as a man
_would not. _These ideas, once entertained, are sufficient of
themselves, to suggest the notion of a man in the interior. A few
more imperceptible steps lead us, finally, to the result. The
Automaton plays with his left arm, because under no other
circumstances could the man within play with his right--a
_desideratum _of course. Let us, for example, imagine the Automaton
to play with his right arm. To reach the machinery which moves the
arm, and which we have before explained to lie just beneath the
shoulder, it would be necessary for the man within either to use his
right arm in an exceedingly painful and awkward position, (viz.
brought up close to his body and tightly compressed between his body
and the side of the Automaton,) or else to use his left arm brought
across his breast. In neither case could he act with the requisite
ease or precision. On the contrary, the Automaton playing, as it
actually does, with the left arm, all difficulties vanish. The right
arm of the man within is brought across his breast, and his right
fingers act, without any constraint, upon tile machinery in the
shoulder of the figure.
We do not believe that any reasonable objections can be urged against
this solution of the Automaton Chess-Player.
~~~ End of Text ~~~
======
THE POWER OF WORDS
OINOS. Pardon, Agathos, the weakness of a spirit new-fledged with
immortality!
AGATHOS. You have spoken nothing, my Oinos, for which pardon is to be
demanded. Not even here is knowledge thing of intuition. For wisdom,
ask of the angels freely, that it may be given!
OINOS. But in this existence, I dreamed that I should be at once
cognizant of all things, and thus at once be happy in being cognizant
of all.
AGATHOS. Ah, not in knowledge is happiness, but in the acquisition of
knowledge! In for ever knowing, we are for ever blessed; but to know
all were the curse of a fiend.
OINOS. But does not The Most High know all?
AGATHOS. That (since he is The Most Happy) must be still the one
thing unknown even to Him.
OINOS. But, since we grow hourly in knowledge, must not at last all
things be known?
AGATHOS. Look down into the abysmal distances! -- attempt to force
the gaze down the multitudinous vistas of the stars, as we sweep
slowly through them thus -- and thus -- and thus! Even the spiritual
vision, is it not at all points arrested by the continuous golden
walls of the universe? -- the walls of the myriads of the shining
bodies that mere number has appeared to blend into unity?
OINOS. I clearly perceive that the infinity of matter is no dream.
AGATHOS. There are no dreams in Aidenn -- but it is here whispered
that, of this infinity of matter, the sole purpose is to afford
infinite springs, at which the soul may allay the thirst to know,
which is for ever unquenchable within it -- since to quench it, would
be to extinguish the soul's self. Question me then, my Oinos, freely
and without fear. Come! we will leave to the left the loud harmony of
the Pleiades, and swoop outward from the throne into the starry
meadows beyond Orion, where, for pansies and violets, and heart's --
ease, are the beds of the triplicate and triple -- tinted suns.
OINOS. And now, Agathos, as we proceed, instruct me! -- speak to me
in the earth's familiar tones. I understand not what you hinted to
me, just now, of the modes or of the method of what, during
mortality, we were accustomed to call Creation. Do you mean to say
that the Creator is not God?